The North Carolina Symphony
50th Anniversary Tour
The North Carolina Symphony
50th Anniversary Tour
Pei-An Betty Shih, Editor
TABLE OF CONTENTS
Preface by Jackson Parkhurst 2
Toccata and Fugue in D minor — Bach by Monica Autry 3.
Symphony No. 2. Movement IV — Brahms by Larue Tart, Frankie Talton, Jean Milleson,
Marie Batten, Mark Armstrong, and Alex Wingate 12
Overture to Candide — Bernstein by Tama Bouncer 35
The North Carolina Symphony Teacher's Handbook Copyright © 1995 by The North Carolina Symphony Society,
Inc. Reproduction of this book in its entirety is strictly forbidden. Permission is given to duplicate charts, scores,
puzzles, etc. for classroom use only.
The program book and the educational concerts are made possible by a grant-in-aid from the State of North
Carolina and from the National Endowment for the Arts. As part of their commitment to education, Glaxo, Inc.,
has made a generous grant to fund conductors for music education concerts.
The North Carolina Symphony
2 East South Street
Raleigh, N.C. 27601
Jackson Parkhurst, Director of Education
The North Carolina Symphony's 1995-96 season marks the fiftieth year that
the Symphony has boarded buses, trucks, and automobiles to travel to distant
communities to play concerts for North Carolina school children. It was in the
spring of 1946 (with the help of funds from the North Carolina Legislature's "Horn
Tootin'" Bill) that Benjamin and Maxine Swalin along with Adeline McCall achieved
their dream of performing admission-free concerts for students all over the state.
Since that time we have travelled nearly one million miles and played
thousands of concerts to millions of children. We are now performing for our third
generation of North Carolinians. We believe that great music has a place in
everyone's life, and we are proud of our part in making it a reality for young
people. We want to thank everyone who has helped us perform our mission over
the last fifty years and those who support us and attend our concerts today.
I especially want to thank you, the music teachers of North Carolina, who
have faithfully worked with us and supported us since the very beginning . Without
you our work would be impossible . I believe the success we have enjoyed is largely
because of the preparation that you give the students. Our concert is more than
a one time field trip. The adults who come up to me in banks, grocery stores, and
concert halls all want to tell me about going to the symphony when they were
young and what they remember. No single performance, no matter how good,
would make that lasting an impression. It was a dedicated, enthusiastic, and
probably tired music teacher that made it happen. Hats off to you.
O O O O O
We are indebted to this year's writers of the Teachers Handbook . We
appreciate their dedication and hard work both in their writing and in their
presentations at the Teacher Workshop.
Thanks also goes to Pei-An Betty Shih for her work in editing this book for
publication. Pei-An served as an Institute of Government summer intern with us
and proved her versatility by learning word-processing from scratch. She is a
1995 bassoon and piano graduate of the North Carolina School of the Arts and
plans to continue her education with an MBA degree. She comes from Taipei,
One of this year's songs is Products of Our State sung to the tune of She'll
Be Comin' Round the Mountain with clever words by Madge McCannon Patton.
Madge is a 4-5th grade teacher from Greensboro and the author of North Carolina
Ditties and Doodles . We are grateful to her for allowing us to use her song. I also
appreciate Melinda Wilkinson's help in finding Madge and with the selection of this
As you requested overwhelmingly at last year's Teacher Workshop, we are
changing to compact discs instead of tapes for recordings of this year's music.
I hope this will be useful for everyone.
I trust that you will find this Teachers Handbook helpful. I repeat that it
is intended to be a help to you in the classroom. We do not require that you use
all or any of the material. It is produced only to be an aid to your good teaching.
All of us at the North Carolina Symphony thank you for your work in
teaching our children and helping to open the joy of music for them. We wish you
a great year, and we look forward to working together for the next fifty years.
Jackson Parkhurst, Director of Education
and Assistant Conductor
The North Carolina Symphony
Johann Sebastian Bach
Toccata and Fugue in D minor
by Monica Autry
About The Composer
Bach was born in Eisenach, Germany. He was born into a family rich in musical
heritage. His great-grandfather, grandfather, uncles, cousins and his own father were
musicians of repute. Johann Sebastian received his first music lessons as a youngster from his
father, a violinist.
Bach's parents died when he was only ten years old. His older brother assumed
responsibility for the young Bach, taking him to live with him and his wife. His brother,
Christoph, was a church organist and taught Bach to play the organ as well. Bach had an
insatiable appetite to learn more music. His brother forbade the younger Bach to use volumes
of organ music by well known composers, saying that the music was too difficult. Johann
Sebastian would sneak downstairs during the night and copy the music. It was a very tedious
task to hand copy volumes of music. When his brother discovered the copies, he destroyed
them. Bach was given a home as a child, however it sorely lacked the love and emotional
support of caring parents.
Bach's unusual talent was recognized by his brother and he sent him to study at St.
Michael's Choir School at the age of fifteen. It is reported that Bach walked all the way to the
school, about one hundred and fifty miles away. He stayed for two years, learning Greek,
Latin, religion and music. He left St. Michael's School ready to begin his career as a
Bach held several music positions during his life. Unlike many other famous
composers, Bach never lacked for employment. He was organist and music director at several
churches in various locations of Germany. He was constantly seeking a better position with
better pay. Bach was recognized as an excellent organist, however the church's congregation
didn't always appreciate his style. Some congregations felt his music was too complicated and
fancy to follow when singing. He left his church position for a short while to study music
under another famous organist and composer, Dietrich Buxtehude.
Bach's magnificent playing made him famous at this time, not his composing, Prince
Leopold heard him play and asked him to come work for him in his court. Bach wanted to go,
however, his current employer refused to let him leave his position as church organist. Bach
persisted in asking for permission to leave. His employer became so angry that he put Bach in
jail for breaking his agreement. After several weeks he was released from jail and went to
work for the Prince.
Bach was happy in his new position and enjoyed working for Prince Leopold. As the
years passed by, he began to be filled with a desire to go back into church music. Bach felt
his music should be an expression of his faith in God. He went back to the church world as
musical director at St. Thomas Church and music director of the city of Leipzig.
Bach remained in Leipzig for the rest of his life. He wrote some of his greatest music
here. Some of the music he wrote was for organ as well as many cantatas- pieces for singers,
organ and orchestra. While in Leipzig, Bach met King Frederick the Great. The King played
a simple melody for Bach on the keyboard. Bach later turned the simple song into a very
complicated and now famous piece he called, "Musical Offering. " He presented the work as a
gift to the King.
Bach began to go blind as he grew older. He had two unsuccessful cataract operations,
without anesthesia! His body never quite recovered from the shock of the second operation.
Bach continued to write music until his death. He dictated his last work, "Before Thy Throne
with This I Come" to his son-in-law. Bach's last musical gift was written in anticipation of
greeting his creator.
Bach passed on his musical heritage to his children. Four of his children became well-
known composers. The fame of his children surpassed his own fame during their lifetime.
Johann Sebastian Bach was recognized as a great musician during his life, but his world failed
to recognize his genius as a composer. It was almost one hundred and fifty years later before
the profound greatness of Bach's music was realized.
About the Music
Toccata and Fugue in D minor was written as an organ piece. Leopold Stokowski,
conductor of the Philadelphia Orchestra from 1912 to 1936, transcribed many of Bach's organ
pieces for orchestra, including this one. Stokowski wished to introduce Bach's work to a
wider audience, liberating them from organ recitals. Stokowski has been acclaimed for
broadening Bach's appeal in a majestic and moving manner.
Fugue- a complex musical form in which voices enter at different times in imitation but
develop and vary throughout the piece.
Toccata- a keyboard composition in a free style using full chords and running passages.
Reading Comprehension Questions on the Life of Bach.
1 . What country was Bach born in?
2. Who was Bach's first music teacher?
3. Who took care of Bach after the death of his parents and taught him to play the organ?
4. What was the name of the music school Bach went to at the age of fifteen?
5. What kind of music positions did Bach fill during his life?
6. What was the name of the famous organist that Bach studied under?
7. What kinds of music did Bach write?
8. Why was Bach put in jail?
9. What is significant about four of Bach's children?
Lesson Plan: Call Chart for Toccata and Fugue in D minor by Johann Sebastian Bach
Objective: Students will follow a chart identifying melodic and rhythmic fragments,
as well as the tone colors of orchestral instruments.
Teach: 1. Students should be able to recognize the tone colors of string, woodwind
and brass families, as well as the timpani.
2. Teach the words for melodies A and B in the introduction.
3 . Review the meaning of fermata. Have students look through the call chart,
discovering where the fermatas are.
4. Teach the rhythmic patterns with triplets in numbers three and four of the call chart.
5. Review the rhy thmi c fragments in numbers two, seven, eight, nine and ten of the
6. Listening. Teacher will guide and call the numbers of the call chart as they are
encountered in the music.
Review and Closure: Play the piece again, but do not begin at the beginning. Can you find
where we are on the chart?
6 ie tn^
Lesson Plan: Variation of Call Chart for Toccata and Fugue in D Minor.
Objective: Students will identify the tone colors of orchestral instruments by holding up a
visual for that instrument family when it is heard in the music. Students will also
identify fermatas that are heard in the music.
Teach: 1. Students should be somewhat familiar with the piece after listening to the call
chart in lesson one. Make the following cards to be passed out among the students:
strings, woodwinds, brass, harp, timpani, and fermata. Students will hold up their card
when they hear their instrument family. Whenever a fermata is heard, hold that card
up as well.
2. When the orchestra "builds," have students raise their cards a row at a time.
3 . In the ending section, have students raise their cards from low to high with the
Lesson Plan: Write Music inspired by Toccata and Fugue in D Minor by Johann
Objective: Students will write a creative story inspired by thoughts, images, and emotions
evoked while listening to the music.
1 . Students will write down words and phrases that cross their minds while listening to the
music' Let students share their papers with the class. Compile a list of words and
phrases from the students' ideas.
2. Have the students come up with a possible story prompt. They also need to come up with
specific characters and settings.
Some friends of mine dared me to spend the night alone in an old abandoned house
down the street. I didn't want my friends to think I was a "scaredy cat" so when night
came I decided to do it.
se are copies you may enlarge to use as visuals
Books: Basically Bach . Herbert Kupferberg. McGraw Hill Book Company, 1985.
Harvard Dictionary of Music . Belknap Press of Harvard University, Cambridge, MA.
Johann Sebastian Bach: Great Man of Music. Carol Greene Children's Press,
Monica Autry teaches general music to grades K-4 at Butner Elementary School in Fort
Bragg, North Carolina, a position she's held since 1984. She also teaches an after
school string program for grades three and four. She received her BM from the
University of North Carolina at Greensboro. She has served as minister of music in a
local church and teaches private piano lessons. She is married to Adrian Autry and has
two children, Megan and Cameron.
Johannes Brahms Syphony No. 2, Movement 4
(1833-1897) by Larue Tart
A German composer who wrote masterpieces in almost
every form except opera.
Background and Beginning
"The Classical Generations"
The sheer number of important musicians who have been either natives or inhabitants
of Vienna is astonishing. Gluck, Haydn, Mozart, Beethoven, Schubert, Brahms, Strauss,
Bruckner, Wolf, Mahler, Schoenberg, and Webern are probably the most significant, but there
are at least a hundred more. Nowhere else in the world is there a city so saturated with the
essence of music.
The ruling Hapsburg emperors were passionately fond of music (some of them were
competent composers themselves), and from early times had imported the best foreign
musicians to court.
The gift of music to the eighteenth century was the symphony, as its gifts to the
seventeenth had been opera and sonata.
The variety of conflicting elements that went into the making of Johannes Brahms as
man and musician can be seen in the circumstances of his life from the start. The family into
which he was born on May 7, 1833, was a devoted and unpretentious one. His father, Johann
Jakob, who was twenty-seven at the time of Johannes' birth, played the bass and occasionally
the horn in orchestras and bands. His mother Christiane (nee Nissen), was seventeen years
older, and had worked as a seamstress before her late marriage in 1830. There was a
daughter, Elise, born in 1831, and in 1835 a second son, Fritz Friedrich, arrived.
Johannes' home background was affectionate and happy. But the domestic virtues were
maintained against the contrast of the world outside—the squalid, dilapidated maze of narrow
alleys and ancient wood-frame houses in Hamburg's dockland known as the Gangeviertel. As
he grew up, his efforts to contribute to the family budget and ease the pressure of his parents'
relative poverty led, physically, to strains that told on even his robust constitution, and
emotionally to experiences that were to mark him permanently.
At an early age, Brahms helped support his family by playing dance music in
waterfront bars. He kept a book propped up on the piano so he could read while he played.
Jakob had no doubt, from the beginning, that his sons were to be musicians, but their
general education was not neglected.
Johannes was sent to a private school at the age of six and transferred at eleven to
another one where Latin, French, and English shared a place on the syllabus with mathematics
and science. It is easy to see where the foundations of a lifelong devotion to reading, to
literature, philosophy, and indeed to all the humanities must have been laid.
Johannes started the string instruments when he was six years old. He began piano lessons
at the age of seven.
By the time he was fifteen, he was making a living through music. He left Hamburg to
travel as an accompanist to a famous Hungarian violinist, carrying in his knapsack works of his
Brahms wasn't an instant success as a musician. At the first performance of a concerto on
which he'd worked for four years, only three people clapped; everyone else hissed. But eventually
his music became popular, and he was one of the few composers ever who didn't have, to take
another job to make a living.
He was one musician who spent less money than he earned. With his extra money,
Brahms took care of relatives in Hamburg and any friend who needed help. His own tastes were
simple in everything but music and food. He owned an expensive collection of original music
manuscripts by Mozart and other composers he admired.
Brahms got up every morning at four or five, made his own coffee with his Viennese
coffee maker,' and went for a walk in the woods to hear the birds signing. He kept his pockets
filled with candy and little pictures, which he handed to neighborhood children on his walks.
Then he would get to work. Brahms worked painstakingly. His first symphony took him
about ten years to write. He prepared meticulous manuscripts, and if he wasn't completely
satisfied with them, he would bum them or throw the pages into the river. "It does not just come to
you!" Brahms would say of composing— "It is torture!"
In the course of the next ten years the remaining three symphonies appeared, the Violin
Concerto, the Second Piano Concerto, the Double Concerto for violin and cello, and a host of
smaller works. In 1 896 his beloved Clara Schumann died and Brahms fell ill soon after. Cancer
of the liver was diagnosed and he died at his home in Vienna the following year. All the ships in
Hamburg lowered their flags to half-mast that day.
TEN STEPS TO BECOMING A COMPOSER
1. Johannes Brahms was born in Hamburg, Germany, on May 7, 1833.
2. His father was a double-bass player in a local symphony orchestra.
3. His mother was a seamstress and cook.
4. Brahms was one of three children.
5. At the age of seven, Brahms began taking piano lessons.
6. By the age of 13, Brahms had began learning musical theory.
7. At the age of 15, Brahms gave his first formal recital.
8. At the age of 20, Brahms left home on a concert tour as a piano accompanist.
During this tour, Brahms played for a lot of people and met some of the most
influential musicians of his time.
10. As his fame spread, Brahms devoted more and more of his time to composing and less
to his career as a performer.
Brahms wrote music for several instruments and combination of instruments. This includes
music for strings, piano, and clarinet. He also wrote choral Works, and Orchestra Music.
Included in his orchestral music are Four Symphonies.
Symphony A symphony is a large orchestra work in several movements.
SYMPHONY NO.2 IN D MAJOR
Brahms' second symphony is known as the Pastoral Symphony. Brahms planned, sketched,
and wrote it in a benign, sunny little Austrian village lying in the lap of Worthersee. The
altogether unique personality of the Second symphony must owe a huge debt to this lovely
Corinthian spot. The music portrays the serenity, inner peace, quiet joy, and gentle moods the
composer must have experienced in that charming village.
There are four movements in the Second Symphony. During these movements, Brahms utilizes
traditional compositional devices to develop the symphony. They include:
Theme The basic subject matter of a piece of music. The theme can be a
phrase, a short motive, or a full tune.
Phrase A section of a melody or a tune.
Motive A short fragment of melody or rhythm used in constructing a long
section of music.
Subject The term for the principal theme of a fugue.
Solo A section of music featuring one instrument or player.
Mvt. 1 A three-note introduction in the cellos introduces the first principal theme
(horns). Some transitional material follows, including as passionate outburst by
the violins. An eloquent song now unfolds in the cellos and violas and is
repeated by the flutes. All this material is extended and developed with
intensity and breadth, following which the two basic themes return. A tranquil
coda features a beautiful solo for the horn, and the movement ends serenely
with a quiet sustained chord in the woodwinds.
Mvt. 2 The Pastoral nature continues into the second movement. The cellos offer a
gentle and reflective melody which is soon taken up by horns, oboes, and flutes.
The second theme, flutes and oboes, is in a similar lyrical vein. One other
principal idea is presented; an expansive melody for the strings which is given
passionate treatment. In the development of these three important subjects, the
prevailing idyllic mood is never destroyed.
Mvt. 3 The third movement is more of an intermezzo than a scherzo. We hear the
principal theme immediately in the woodwinds, the cellos providing; a
pizzicato accompaniment. Two trios follow, separated by a restatement of the
main melody. Each of the trios is actually a variant of the theme.
Mvt. 4 The concluding movement begins with a transparent melody for the strings.
The full orchestra takes up this idea with vigor, leading directly to the second
subject, which is a subdued theme for the woodwinds. Almost immediately a
third theme is presented, a stately melody for the violins. These three themes
are developed, altered, repeated, as an infectiously gay mood prevails. A
jubilant statement of the opening phrase or the third theme brings the
symphony to a vital conclusion.
Brahms symphonies are Qassical in several respect:
1. They are laid out in the customary design of four movements, each of which
has a form recognizably close to the Classical pattern.
2. They make use of the Classical techniques of counterpoint and motivic
3. The have no specified program, that is, they have no story associated with
At the same time, Brahms symphonies are Romantic in their harmonic idiom, in their full,
multicolored orchestral sound, and in other general features of their musical language.
Brahms' style of composing is distinguished by various elements. They include:
1 . A lyrical melodic line.
2. A Ballad-like quality of Romantic strangeness.
3. A Fundamental respect for tradition.
4. His music represents a trend of the revival or order and form which is also
found in the works of Schumann, and Berlioz.
■ *W£jsi* -
FACTS ON BRAHMS
1. Brahms was born in Hamburg, Germany, on May 7, 1883.
2. Brahms' father, Johann Jakob, played the double bass.
3. Brahms' mother, Christiane Nissen, was a seamstress.
4. He had one brother and one sister.
5. The three B's were Bach, Beethoven, and Brahms.
6. Brahms never married.
7. He began playing the strings at age 6.
8. He started playing the piano at age 7.
9. Brahms' first piano teacher was Otto Cossel.
10. Brahms' first strings teacher was his father.
11. Brahms wrote in every musical form except opera.
12. Brahms was a notoriously loud snorer.
13. Hans von Bulow called Brahms' First Symphony "Beethoven's Tenth" (meaning
Brahms' music was the next step after Beethoven).
14. Brahms wrote "Brahms' Lullaby," also known as "Lullaby and Good Night."
15. Brahms loved food and coffee.
16. At his first performance of a concerto (that took him four years to write), only three
17. Brahms dressed strictly for comfort.
18. He played with toy soldiers until he was 30.
19. He was making a living through his music by the age of 15.
20. The foundation of his life was Clara Schumann who was 14 years older than he.
21. It took him 10 years to compose his first symphony, but waited until he was 40 to write
it. The reason it took so long was that Brahms said, "I feel Beethoven staring over
22. In the next 10 years he wrote 3 symphonies and many other concertos.
23. Brahms died in 1897 of liver cancer at the age of 64.
24. In Vienna they declared a holiday for his funeral.
25. All the ships in Hamburg lowered their flags to half-mast for his funeral.
26. Brahms did not have a happy childhood because his parents argued and they had little
27. Brahms gave his first performance at age 14.
28. Brahms had no formal musical training.
29. Brahms liked to write his music in pairs.
30. Liszt listened to Brahms play but Brahms fell asleep when Liszt played.
3 1 . The four periods of Brahms music are spring, summer, autumn, and winter.
32. Brahms supported his family by playing in bars and theaters.
33. Brahms lived in Vienna, Austria.
34. Being a penny pincher, Brahms wouldn't buy new clothes until they could no longer be
35. His apartment was very messy. No one could touch anything.
36. Brahms was a kind man who loved children.
37. Beethoven was Brahms' favorite composer.
38. There is a monument in Vienna for Brahms.
3 9 . Brahms' father did not support him in his music.
40. His Symphony No. 2 was written while he was staying at Portschach by a lake and it glows
with the charm of the Austrian countryside in which he was very happy, fie returned to it
many times. This idyllic work is his "Pastoral Symphony." It was written during his
"autumn" period of composition (1868-1890).
41 . Brahms used syncopation and hemiola rhythms in his music.
42. The texture of his music is thick, with the melodies moving freely from outer voice to inner
43. He wrote dignified themes that were serious or elastic with humor and scored his music to
show the eloquence of instrumental tone color.
44. He was a conservative among Romantic composers. He wrote "Absolute" music, a return
to discipline, order, and form.
45. The fourth movement of his Symphony No. 2 in D Major is approximately 8/4 minutes
CLASSROOM ACTIVITIES - GAMES
With the symphony student booklet, the Brahms facts sheet, and your own musical
information sheet, several games are available to play. Some include Relay, "Brahms" Baseball,
Musical Jeopardy, and Quiz Bowl. One original game is P I C MUSIC. This game can be played
after the study of Brahms or at the conclusion of all the Symphony Studies.
P I C MUSIC
P I C MUSIC stands for: P Pieces (symphony compositions)
I Instruments of the orchestra
MUSIC /* Listening/identifying
Object of the game: To be the first team to get 1 00 points.
Number of Players: Entire class; individuals make up 2 teams
Game Materials: Cards with letters P, I, C, Music / . Have enough for entire class plus
extras. Tape player, tape of Brahms Symphony 2, Movement IV (or all tapes of symphony
compositions studied if game is used for evaluation).
Game Play: Before the game each player pulls out one of the 4 cards. The class then
divides into 2 teams. The MUSIC / card is WILD. This card has double points since the
question involves listening to and identifying the music. Use the chalkboard or large poster
for scoring points for each team. Each card/category is worth 1 points, except the MUSIC /^
card, which is worth 20 points. As teacher, you ask the questions previously selected for
each category. Select a time limit. If a team member incorrectly answers a question, then
the same question is given to the opposing team member holding the same card/category.
If that team member also incorrectly responds, then give the answer and continue the game
with the next card holder. If any team member not holding the question card at that time
gets too loud, or tries to coax an answer, call "Foul" and deduct 10 points from that team's
score. This usually helps keep behavior under control. The first team to get 1 00 points
wins the game! I usually reward the winning players with a "Sweet Tart" (in more ways
The students also like to "compose" a jingle tune/theme to play before the game starts to
introduce each team, and/or to play at certain intervals during the game. HAVE FUN!
Instructions: Divide into teams. Call the question. Run to chair. First one to sit gets to answer.
Keep running score to determine winner.
1 . Where was Brahms bora? Hamburg, Germany
2. What is Brahms' first name? Johannes
3. What instrument did his father play? Double Bass
4. What instrument did Brahms play at age 7? Piano
5. Did Brahms have a happy childhood? No. Parents had little money and argued.
6. How old was Brahms when he gave his first piano recital? 14
7. Did Brahms have much formal musical training? No. Learned on his own.
8. What composer helped Brahms by being his musical advisor and saying, "Hats off,
gentlemen! A Genius!"? Robert Schumann
9. Did Brahms ever marry? No
1 0. Who was Clara Schumann? A friend who played his works at her piano recitals.
1 1 . How did Brahms like to compose his music? In pairs
1 2. What composer listened to Brahms play, but when he played for Brahms, Brahms fell
1 3 . What was the only musical form that Brahms did not write in? Opera
14. What are the four periods of Brahms' music? spring, summer, autumn, winter
15. How did young Brahms help support his parents and siblings? Playing piano in bars and
16. Where did Brahms live? Vienna, Austria
17. Was Brahms a penny pincher? Yes, wouldn't buy new clothes until the old ones were
covered with patches.
1 8. What did his apartment look like? Messy, no one was allowed to touch anything.
19. What was Brahms' hobby? Collecting and playing with toy soldiers.
20. Why did Brahms wait until he was over 40 to write his first symphony? He said, "I feel
Beethoven staring over my shoulder.
21. Was Brahms a kind man? Yes.
22. What did Brahms like do other than play with his soldiers? He loved to walk around the
city and in the Swiss Alps. He loved to eat and drink coffee in cafes with his friends.
23. Was Brahms a successful musician? No. As a teacher, he was a failure; as a conductor, he
was ineffective, and as a composer, he was too far ahead of his day.
24. Did Brahms' father support him in his music? No
25. How old was Brahms when he died? 64
26. Who was Brahms' favorite composer? Beethoven
27. Is there a monument in Vienna honoring Brahms? Yes
28. What was the most popular form of music in the 1 8th century? Symphony
' - '■ ■ ■ ■ . ...
♦BRAHMS WORDSEARCH PUZZLE*
CIRCLE THE WORDS FOUND IN THE LIST BELOW.
B — H
r i i '"''i 1
LIST OF WORDi
UNSOLD I ERS
BRAHMS DRAMA ACTIVITY
OBJECTIVE: To develop student creativity through improvisation and group work.
1 . Place in a bag all the props needed to present the following incidents in Brahms' life.
2. Number each bag 1, 2, 3, and 4.
3. Divide students into four groups and have one student draw a card from a hat for the
4. With the props from their bag and the card describing a certain incident in Brahms' life,
the students will prepare a skit to present to the rest of theVlass. If possible, involve all
students in the presentation whether it be acting, sound effects, etc.
The following information may be printed on an index card for each group. ,
CARD ONE: After many hours of wandering (in the Vienna woods) Brahms and his
friends had come to an inn and asked for black coffee. The coffee was made with chicory-
an economy exercised by many cooks-and Brahms did not like chicory in his coffee. He
called the proprietress to his table and said, My dear old lady, have you some chicory?'
When she said she had, he continued in an even more gracious tone, 'It's not possible!
May I see it?' The old woman retreated to the kitchen and returned with two packages of
chicory which she handed to Brahms. He looked them over solemnly and inquired, 'Is that
all you have?' When she said yes, he pocketed both boxes and said, 'Weli, now you can go
back and make us some black coffee.'
CARD TWO: Brahms and a friend went to a motel and retired to room No. 11, and it
was his instant and most ardent endeavour to go to sleep before Brahms did, as he knew
from past experience that otherwise Brahms' imperinently healthy habit of snoring would
mean death to any hope of sleep on his part.
His delight at seeing Brahms take up a book and read in bed was equalled only by his
horror when, after a few minutes, he saw him blow out the light of his candle. A few
seconds later the room was fairly ringing with the most unearthy noises issuing from
Brahms' nasal and vocal organs. What should he do? He was in despair, for he wanted
sleep, and moreover, had to leave for Berlin early next morning. A sudden inspiration
made him remember room No. 42. He got up, and went downstairs to the lodge of the
porter, whom, not without some difficulty, he succeeded in rousing from a sound sleep.
Explaining cause and object, he made the porter open room No. 42 for him. After a good
night's rest, He returned, early in the morning, to the room in which he had left Brahms.
Brahms was awake and, affectionately looking at him, with the familiar little twinkle in
his eye and mock seriousness in his voice, said to him, well knowing what had driven his
friend away, 'Oh Henschel, when I awoke and found your bed empty, I said to myself,
"There! He's gone and hanged himself!" 'But really, why didn't you throw a boot at me?'
The idea of him throwing a boot at Brahms!
CARD THREE: Brahms could be sarcastic and domineering at times. And very tactless:
Once he was said to have excused himself from a dinner party by saying, 'I beg a
thousand pardons if there should be anyone here whom I have not insulted tonight!'
CARD FOUR: He wore flannel shirts and short baggy pants that often showed several
inches of checked cotton underwear. Another way you could catch a glimpse of his
underwear was to watch him conduct an orchestra. He sometimes forgot to fasten his
suspenders, and when he conducted, he'd have to grab his pants before they fell down.
2 : An autographed photo-portrait of the composer
IN SEARCH OF A GREAT COMPOSER
On the next page are messages about a famous composer. Use these musical notes and
symbols to decode each message.
1 . On the lines provided below write several sentences about Johannes Brahms.
2. On the back of this sheet write out the messages using the special code for each
3. Ask a classmate to solve your coded messages.
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Born: Hamburg, Germany 1833
Died: Vienna, Austria 1897
V \ -ompos- rV-z zz-r who
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- 7 £ -v-i F#=-r, no on J f£= I F^ - ou lJ F=£=
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CLASSROOM ACTIVITIES - CARTOON
Objective: Creative Writing/Listening
Materials: Paper, pencils, Cartoon Activity Sheet, tape player, tape of Brahms Symphony No. 2,
Procedure: Introduce the music by using the background material presented at the beginning of
this study. Students have a deeper appreciation of the music after learning something about the
composer and the setting which inspired the music. The music is "Absolute," so several listenings
are encouraged. Ask students to write down ideas about what they hear and fcel as they listen to
the music. Encourage them to discuss their ideas about the mood, texture, themes, instruments,
dynamics, melodies, form, tempo, meter, etc. This will enable the students to find for themselves
the ingredients which contribute to the uniqueness of this piece. Present the Cartoon Activity
Sheet. Students are to listen to the piece while they fill in the balloons. Share the cartoons with the
class. What is Brahms trying to "tell us" in his music?
LISTENING LESSON USING ABSTRACT ART
Large pad of white paper on an easel or length of white paper attached to board or wall:
colored markers or crayons, recording of Brahms' Symphony No. 2, Movement IV,
suitable listening equipment, i.e., cassette player
A volunteers) is asked to create an abstract drawing while listening to the musical selection.
She/he is to choose colors and create designs based on how the music "sounds" and makes her/him
feel. As the music is being played, the subject chronologically creates designs on the paper to
reflect the music. Helpful suggestions are listed below:
Stress that "abstract" is the desired type of artwork; words and concrete pictures are
Providing several examples suggests variety; showing the examples and removing them
from view discourages copying and encourages creativity.
Because the recording is lengthy (over 8 minutes), allow adequate paper and room for the
This activity may be done as seat work to allow all students to be active participants. Each student
should receive crayons or markers and a sheet of paper. As preparation for the lesson, each
student should fold the paper in half and then fold it in fourths to have a sequence of sections. As
the music is played, the teacher may signal that the music is changing, thereby encouraging the
students to begin a new section. I prefer using paper that is long and narrow, i.e., 6" x 1 8", so that
the folded sections are in left to right sequence and not top to bottom.
COMPETENCY GOALS: ARTS EDUCATION
MUSIC: Grade 5
1 .3 The learner will participate freely in total program.
2.20 The learner will recognize that patterns of sounds may be relatively louder or
softer than others.
2.2 1 The learner will be aware that individual sounds or groups of sounds may
become louder or softer.
222 The learner will verbalize about the effect of dynamics on the mood of the music.
3 . 1 The learner will be aware of her/his own creative capabilities.
4.42 The learner will be aware of the effect of tempo and dynamics.
4.58 The learner will control gross and fine motor movements as needed.
5.6 The learner will know that music is related to the other arts.
5.7 The learner will know that each art from is made up of basic elements.
VISUAL ARTS: Grades K-5
1 .3 The learner is eager to do and see art
2.3 The learner understands the role personal perception and observations play in art.
2.4 The learner understands the role creativity plays in art.
Call Chart Guid*
tfcr r |p a r ir r a
fr ,ff|,f f| ,frlV
Cross, Milton. Encyclopedia of the Great Composers and Their Music . Vol. 1, Doubleday
and Company, Inc., Garden City, New York, NY, 1953.
Gal, Hanes. Johannes Brahms. His Work and Personality . Alfred A. Knopt, New York,
Gaskins, Malinda. Brahms. Johannes . Symphony #4 in E Minor Op. 98, Third Movement,
Allegro Giocoso, The North Carolina Symphony Teachers Handbook 1990-91.
Hamilton, Clive Unger (editor). The Music Makers . Harry Abrams, Inc., New York, 1979.
Jacobson, Bernard. The Music of Johannes Brahms . Associated University Presses, Inc.,
Cranbury, New Jersey, 1977.
Krull, Kathleen. Lives of the Musicians: Good Times. Bad Times (and What the Neighbors
Thought) . Harcourt, Brace, and Co., New York, 1992.
LeBrecht, Norman. The Book of Musical Anecdotes . MacMillan, Inc., New York, 1985.
Larue Tart, Frankie Talton, Jean Milleson, Marie Batten, Mark Armstrong, and
Alex Wingate are all music specialists from Wayne County.
Leonard Bernstein Overture to Candide
(1918-1990) by Tama Bouncer
About The Composer
Leonard Bernstein (burn'-styn) was born in Lawrence, Massachusetts on August 25,
1918. He began piano lessons at about the age of ten.
At Harvard University he studied the piano with Helen Coates and Gebhard, and he
took other music courses with Edward Burlingame Hill and Piston before graduating in 1939.
For the next two years he attended the Curtis Institute. Conducting became his major interest,
and during the summers of 1940 and 1941, he studied at Tanglewood with KousSevitzky, who
was so impressed by his talent that he asked him to be his assistant there in 1942.
Conductor, composer, pianist, lecturer, television personality and author, Bernstein
was called a musical renaissance man. He was best known as a conductor since his
professional debut in 1943, when he replaced the indisposed Bruno Walter as the conductor of
the New York Philharmonic in a program that Bernstein directed without rehearsal. Later
guest appearances with major American and European orchestras showed him to be one of the
most talented conductors of his generation.
He was the musical director of the New York City Center Orchestra from 1945 to 1947.
In 1948 he joined the staff at Tanglewood, where he succeeded Koussevitzky as head of the
conducting department; he was also on the staff of Brandeis University. He was musical
director and conductor of the New York Philharmonic, the first American to hold this post,
from 1958 to 1969, at which time he was named conductor laureate for life. He conducted
opera at La Scala, the Metropolitan Opera and the Vienna State Opera.
He had a dynamic personality with an acute musical intelligence and a large repertoire.
Bernstein reached a large audience with his numerous national television apperances, most
notably as introducer and conductor of the young people's concerts, which brought him
Bernstein pursued an impressive career as a composer of both serious and popular
music. (Excerpt from THE INFINITE VARIETY OF MUSIC by Leonard Bernstein c. 1966
"I am a fanatic music lover. I can't live one day without hearing music, playing it, studying it
or thinking about it. And this is quite apart from my professional role as a musician; I am a
fan, a committed member of the musical public. And in this role of simple music lover, I
confess, freely though unhappily, that at this moment, as of this writing, God forgive me, I
have far more pleasure in following the musical adventures of Simon & Garfunkel or of the
Association singing "Along Comes Mary" than I have in most of what is being written now
by the whole community of "avant-garde" composers. This may not be true a year from now,
or even by the time these words appear in print; but right now, on the 21st of June, 1966, that
is how I feel. Pop music seems to be the only area where there is to be found unabashed
vitality, the fun of invention, the feeling of fresh air. Everything else suddenly seems old-
fashioned: electronic music, serialism, chance music-they have already acquired the musty
odor of academicism. Even jazz seems to have ground to a painful halt. And tonal music lies
in abeyance, dormant. No, I will not look around me at the busy but barren musical scenery
and pack myself off into hibernation until the buds appear. I will stay right here and loudly
proclaim the infinite variety of music."
From his earliest years as a conductor and pianist, Bernstein had been pursuing a
parallel career as a composer of concert pieces and of works for the musical theatre. The
Clarinet Sonata, his first published composition, was composed shortly after he left the Curtis
Institute, and the song cycle "I Hate Music" was first performed by Tourel at New York Town
Hall in November 1943. His first Symphony, performed in spring 1944 in Boston and New
York, was chosen by the New York Music Critics' Circle as the best new American orchestral
work of 1943-1944. In the same season his first ballet, FANCY FREE, with choreography by
Robbins, was introduced by Ballet Theater at the Metropolitan Opera House. Its success led
Robbins and Bernstein to use the scenario (dealing with three sailors on one-day shore leave in
New York) as the basis for a full-length Broadway musical, ON THE TOWN, which ran for
463 performances. During the 1950s Bernstein composed mainly for the stage and screen, but
the 1960s saw two large-scale concert works: the Symphony no. 3 and the CHICHESTER
PSALMS, commissioned by Chichester Cathedral for the 1965 music festival. For the
opening of the John F. Kennedy Center of the Performing Arts, Washington, D.C. (September
1971), he was commissioned, at the suggestion of Jacqueline Kennedy Onassis, to write a
dedicatory work, MASS.
Most of Bernstein's big non-theatrical works deal with religious themes: many vocal
pieces employ biblical or liturgical texts; and he has said that the symphonies reflect personal
spiritual concerns ('me down here looking up to find Him') and that they are, in general,
'about the crisis in faith.' These works are further related in that they require large or
unusual forces and share a similar musical style, one that is a conglomerate of several styles.
A brilliant passage of stylized 1940s jazz, a stark chorale, a shapely pop-ballad tune, a
thunderous finale of Mahlerian proportions - all are components of the characteristic Bernstein
His major works include three symphonies: the JEREMIAH(1944), THE AGE of
ANXIETY(1949) and the KADDISH(1963); three ballets, FANCY FREE (1944),
FACSIMILE (1946) and DYBBUK (1974); CHICHESTER PSALMS (1965), a choral work;
and MASS. He also composed music for the Broadway musicals ON THE TOWN (1944),
WONDERFUL TOWN (1952), CANDIDE (1956) and WEST SIDE STORY (1957).
An expanded CANDIDE was successfully reprogrammed as an opera in 1982.
Bernstein's other operas include TROUBLE IN TAHITI (1952) and its sequel, A QUIET
PLACE (1983). Bernstein was the author of YOUNG PEOPLE'S CONCERTS (1970), a
collection of his television talks; THE UNANSWERED QUESTION (1976), his Charles Eliot
Norton lectures at Harvard; FINDINGS (1982); THE JOY OF MUSIC and THE INFINITE
VARIETY OF MUSIC.
Leonard Bernstein died October 14, 1990.
Voltaire's extravagant, satiric saga, with its mockery of 'the best of all possible
worlds' and the innocent hero who believes in such a thing, was at first made into a comic
operetta by playwright Lillian Hellman set to music by Leonard Bernstein with lyrics from the
pens of three brilliant rhymers - John Latouche (who died, at the age of 38, shortly before the
show opened), the Pulitzer prize-winning poet, Richard Wilbur and Dorothy Parker. The
resultant piece was produced by Ethel Linder Reiner and Lester Osterman, Jr. at New York's
Martin Beck Theater but failed in 73 performances. A London version in 1959 closed after 60
In 1974, a rewritten version by Hugh Wheeler, which emphasized the comic
extravagances of the text, was produced by Harold Prince and the Chelsea Theater in
Brooklyn, New York. The musical score had been altered along with the text, and additional
lyrics supplied by Stephen Sondheim. The now highly colourful show was> mounted by Prince
on a set consisting of multiple acting areas, arranged around the audience, and this time the
reaction was positive. This production of Candide moved to the Broadway Theater, which was
suitably reconstructed to allow the same style of presentation, and it remained there for 740
performances, establishing the show and its new version as one of the most interesting and
intelligent of its time.
At the Castle Thunder-ten-Tronck, Westphalia, the philosopher Dr. Pangloss teaches
the baronial family's daughter Cunegonde, son Maxmilian and illegitimate nephew Candide his
optimistic creed that all is for the best in the best of all possible worlds. He even encourages
Candide 's marriage to Cunegonde, for all the problems it will bring.
In the middle of the marriage ceremony war between Westphalia and Hesse intervenes,
and Cunegonde is carried off. Candide 's troubles have begun.
He reaches Lisbon in time for the great earthquake. There the Inquisition apparently
kills Pangloss. Moving on to Paris, Candide discovers Cunegonde living in kept luxury,
determined to: Glitter And Be Gay."
Candide, Cunegonde and an Old Lady they have met are carried off on a slave ship to
South America. In Buenos Aires the governor proposes to make Cunegonde his mistress, and
with the help of the "easily assimilated" Old Lady, he convinces Candide to seek his fortune
Candide heads for Eldorado, where he does, in fact, find a fortune. Returning to claim
Cunegonde, he learns she has fled. The ship in which he sets out after her sinks, so the
despairing Candide makes his way to Venice.
He discovers the Old Woman working as a shill in a gambling house. She too is less
confident and tinged with bitterness. Candide discovers Cunegonde reduced to a scrubwoman.
He returns with her to Westphalia, where he encounters the supposedly dead Pangloss. But
Candide can no longer subscribe to the philosopher's all-accepting view of life. He and
Cunegonde retire to live quietly and to make their garden grow.
The score of Candide was one which thoroughly merited the description of comic
operetta. It included ensemble and orchestral music of a quality and adventurousness rarely
seen on the postwar musical stage. Bernstein created a pyrotechnic, eclectic score that moved
from stately 18th-century forms to modern tangos and jazz. The most popular, durable bit of
his work turned out to be the overture.
Fanfare played by brass and woodwinds in <£\
r r r \
pattern played by the
y z> ■?
f f f £ 1 f f f M r f T £ pattern played by the horns
Measures 47-6 1
Theme A is played by the flutes, oboes, clarinets, violins and
Theme B is played by the trumpets and trombones; this section is
Bridge : measure 63 is in Jt. meter; measure 64 returns to ^__
and solos are played by the flutes, clarinets,oboes, bass clarinets
and bassoon; measures 75-79 piccolos and flutes only;
measures 80-82 descending pattern is played by the flutes and
The rhythm pattern is written so that every third measure is in z_
Theme C (ccmtabile) is played by the clarinets, bass clarinets and
violas in measures 83-94, by the oboes, clarinets, bassoons and
violins in measures 95-106 and by the flutes, oboes, violins,
violas, and cellos in measures 107-1 18.
Call and response in measures 119-121 between the (piccolos and
clarinets) and violins in %_
In measures 123- 1 33 the theme is played by the flutes, oboes, bass
clarinets, bassoons, trumpets, violins and violas.
Cf with brass fanfare accompanied by oboes, low woodwinds,
timpani and strings
Theme A is played by flutes and oboes in measures 147 and 148;
violin solo in measures 147-152; dynamic marking oisubitoff for
horns and strings in measure 153; full orchestra is^in measure
154; glissandos by piccolos, flutes, oboes, violins, violas and
clarinets in measure 155 and clarinets, violins and violas in
Theme B without the repeat
Call and response between (flutes and oboes) and violins
Theme D is played pp by flutes and oboes; staccato pattern played
by bassoons and strings play pizzacato pp in measures 208-2 15;
piccolos, flutes, oboes, violins play theme in measures 216-230;
measure 230 in %, .
Codetta: The following rhythm pattern is heard in measures 23 1 -
J J I
i ci I
cV czJ cJ
a fanfare similar to the fanfare heard in measures 1 34- 1 39 is played
^Tin measures 255-258; the pattern^ Mil T_l LiL ls played
by the woodwinds in measures 258-260; Theme A is heard in
measures 260-266; the bass clarinets, bassoons and strings
crescendo in measures 267-270; Theme B is played in measures
271-278; a portion of Theme C is played in measures 279-283;
the patten^ J"3 J J J J I J * ~ 1 i ? * 1 J
is played by the woodwinds and strings in measures 284-286.
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Excerpt from "Oh,
Lyrics by Richard Wilhur and Music
by Leonard Bernstein
Soon, when we feel we can afford it,
We'll build a modest little farm.
We'll buy a yacht and live aboard it,
Rolling in luxury and stylish charm
Cows and chickens
Peas and cabbage
Ropes of pearls.
Soon, there ' 11 be little ones beside us
We'll have a sweet Westphalian home.
Somehow we'll grow as rich as Midas
We'll live in Paris when we're not in
Oh, won't my robes of silk and satin
I'll have all that I desire.
Pangloss will tutor us in Latin and Greek
while we sit before the fire.
Fai thful dogs
We'll round the world enjoying high life
All will be pink champagne and gold.
We'll lead a rustic and a shy life
Feeding the pigs and sweetly growing
Breast of peacock
I love marriage
So do I.
(The melody for this duet is theme C of the overture.)
<UUM ^ M<U\cU\<U\<U\,Ul
"^N\<Lxv\e: O V\ovierr\eA u>C&x sVc eaters- Cvrec ^cny^ )
i JJi? ) j\-A\-i\-\*\-\^-ii
DIRECTIONS: Begin with the Letter L Go around the paper and write down every
second letter in the blanks in each statement AH letters will be used and there will
be a letter in each blank.
the music for Candkte.
to Candkte has become familiar to concertgoers.
, the hero of the musical, learns that perfection
can never be attained and that one must try to do one's best.
4. Bernstein was commissioned to write
for the September 1 971 opening
of the John F. Kennedy Center of the Performings Arts in Washington, D.C.
6. Leonard Bernstein was a
lecturer, television personality and author.
7. Bernstein wrote three
is one of Bernstein's
8. Candkte is based on a satire by.
9. Candkte is a
10. At the end of the play, Candkte and
Kve quietly and make their garden grow.
11. Theme C in the Candkte Overture is based on the duet
in 2 acts,
12. Leonard Bernstein was the
to hold the post of music director and conductor (1958 -1969) of the New York
o|gj_ij^QlxL*tWMElgl«J-^'.P- SP l v * 1 0|T|C iBiliE
1 . ARCO playing with the bow
2 . PIZZICATO plucking the strings
3 . GLISSANDO .a difficult virtuoso effect produced on the violin by a rapid
succession of minute distinct movements of the hand
4. CRESCENDO to gradually get louder
5. FF (fortissimo) very loud
6. ALLEGRO a fast tempo
7. MARCATO marked or stressed
8. DIMINUENDO to gradually get softer
9. F (forte) loud
10. P(soft) soft
1 1 . MF (mezzoforte) moderately loud
12. SUBITO DOLCE suddenly sweetly or softly
1 3 . MP (mezzopiano) moderately soft
14. PPP (pianisimo) very, very soft
15. CANTABILE in a singing style
16. ESPRESSIVO expressively
17. SOLO in orchestral scores, a passage intended to stand out
18. UNISON performance of the same melody by various instruments or the
whole orchestra at the same time
19. STACCATO detached; notes played in a short, crisp manner
20. POCO A POCO little by little
21 . DUET a composition for two performers of equal importance with
or without accompaniment
■ Vocabulary Review
1 . suddenly sweetly or softly
2. playing with the bow
3. in a singing style
4. in orchestral scores, a passage intended to stand out
5. a composition for two performers of equal importance with or
TDUE without accompaniment
6. plucking the strings
7. to gradually get louder
8. performance of the same melody by various instruments or
the whole orchestra at the same time
9. little by little
OOCP A COOP
10. __. a fast tempo
1. MUSIC (BINGO): Have students make playing cards using words from the word list.
2. CONCENTRATION: Select 15 or more terms to duplicate on index cards. Place the
cards face down on a table or on the floor. Have the students turn the cards over to
locate the matches.
This can also be done on a wall chart by using library book pockets to hold the index
3. MAKE A SCENE: Students are to draw a scene representing each of the themes heard
in Candide. Fold an 8 1/2 by 11 sheet of paper in half. Borders can either be drawn by
the students or made by using the Print Shop. Have 2 frames on each side of the paper.
Some students may choose to write a short story about the music instead of drawing
West Side Story
1. Leonard Bernstein
5. West Side Story
9. Comic Operetta
11. "Oh Happy We"
12. First American
1. Subito Dolce
9. Poco a poco
Gerald Boardman, American Musical Theatre: A Chronicle. Oxford University Press, 1978
Kurt Ganzl, The Encyclopedia of the Musical Theatre . Schirmer Books, 1994
Stanley Green, Broadway Musicals Show by Show . Hal Leonard Books, 1985
Grolier Electronic Publishing, Inc., 1992
Microsoft Corporation, "Leonard Bernstein," 1994
Stanley Sadie, Editor: The New Grove Dictionary of Music and Musicians . Macmillan
Publishers, Ltd., 1980
Tama R. Bouncer teaches music K-5 at Swift Creek Elementary School in Wake, County.
She received her Bachelor of Music degree from UNC-Greensboro and her Master of Music
degree from the University of Oregon. She is the organist/choir director for the Cathedral and
Senoir Choirs and the pianist for the Children's Choir at Rush Metropolitan A.M.E. Zion
Church. She and her husband John reside in Raleigh with their four children Lauren,
Christine, Elaina and Aaron.
She is assisted by Monica Keele Jones who teaches music K-5 at Brooks Elementary School
and Elizabeth Chance who teaches music K-5 at Millbrook Elementary School
in Wake County.
Copies of Your North C a rolina Symphony Book . T he Teacher s Handbook,
and recordings of the music on this year's program can be purchased" from the
Symphony office. Write to The North Carolina Symphony, Attention: Lanita
Mattison, 2 East South Street, Raleigh, NC 27601. Our telephone number is
(919) 733-9536. Fax (919) 733-9920.
Please place orders early enough to allow for two weeks delivery time.
Materials are available as long as supplies last.
Be sure to check other sources for information on this year's compositions
and composers. All Night, All. Fay can be found in several music textbooks with
related activities. The Bach Toccata and Fugue is featured on Walt Disney's
Fantasia with footage of Leopold Stokowsky shaking Mickey Mouse's hand:
We want to thank all the music educators who contributed to this yea; >
Teachers Handbook for their cooperation and enthusiasm.
We encourage you to fill out the comment sheet on the next page
The North Carolina Symphony welcomes your criticisms and compliments on our
education program. Please use this sheet and return it to the address below .
Please tell us what you think about
The Teacher Handbook:
The student booklet:
The education concert:
Do you have suggestions for songs?
Are you interested in writing for the Teachers Handbook ?
If so, please give your name and phone number.
Mail to: Jackson Parkhurst, Director of Education
The North Carolina Symphony
2 East South Street
Raleigh, NC 27601
STATE LIBRARY OF NORTH CAROLINA
3 3091 00748 3886